论文部分内容阅读
名为《风景》,作者写的其实不止自然的风光,还有由人的辛苦劳作和生命力量的涌动所创造生成的“人为”的风景——农作物、防风林,它们是人在天地间与自然积极合作化育而成的“超自然”风景。这道风景被诗人们遗忘得太久了。人类被遗弃在俗世的操劳与奔波中,慢慢忘记了自己在太阳、大地、海洋、原野中所处的位置,迷失了方向。这首诗,道出了存在者(人)作为存在的历史性和创造性,道出了隐蔽在风景背后的人的最基本的在世方式。从表现手法上看,这组诗歌的深层意蕴不是源自于意象本身,而是源自于意象的空间结构,换句话说,我们要从每一个意象出现的结构位置和空间关系出发来建构它的意义及它与整体诗意的联系,而不是相反,先对每一意象分别进行阐释,然后再把它们加在一起构建整首诗的意义。因此,对于这组诗,它的空间结构就是它的深层意蕴,就是它的诗意本体。
Named “Landscape,” the author actually wrote not only natural scenery, but also “man-made” scenery created by surging human hard work and life forces - crops and windbreaks. They were people in heaven and earth Between the natural and active cooperation between fertility “supernatural” landscape. This landscape has been forgotten by the poets for too long. Mankind was abandoned in earthly laboring and running around, slowly forgetting its own position in the sun, the earth, the sea, the wilderness, lost its way. This poem outlines the historicity and creativity of the being as a being, revealing the most basic way of living hidden behind the landscape. From a performance point of view, the deep meaning of this group of poems is not derived from the image itself, but from the spatial structure of the image. In other words, we should construct it from the structural position and spatial relationship of each image appearance And its relationship with the overall poetic, rather than the contrary, first explain each image separately, and then add them together to build the meaning of the whole poem. Therefore, for this group of poems, its spatial structure is its deep meaning, is its poetic body.